There has undoubtedly been one person, or ten, or even one thousand black people who have gone through their lives with little to no observable experience with racism, don’t consciously feel its impact, and for that manage to gain some degree of success or wealth or high quality of life. Their experiences do not invalidate the very real existence of systems that make such outcomes more unlikely for the rest of us. Systems that privilege white people at the expense of people of color.

I thought about the implications of this AI Overseer guiding thoughts, emotions, opinions, consumer habits, politics, public policy, among many other things, including the very modes of human interaction and our reasons for doing anything at all. It sounded like a “benevolent” dictator, but one with far more insight into and power over people on an individual and collective level than any human or their administration could ever manage.

The recent accusations against Quantic Dream founder David Cage do not exist in a vacuum, nor without precedent. He wants to be judged by his work, and indeed if one looks critically at his games, a theme emerges. People of color are reduced to caricatures, invoke harmful stereotypes, and should remain at the margins, if they appear at all. Even if that means literally erasing them from settings where they predominate. This is not the cross-burning of the past or the anger-marching racism so en vogue these days, but the more deeply entrenched racism underlying all of our media institutions.

Diverse representations of black people in media has nothing to do with “political correctness”. It has little to do with fairness, either. This is not a zero-sum game by which black gain equals white loss. What it concerns, most significantly, is the acceptance of this proposal that Black Lives Matter. That Black People Matter. Black representations are a matter of survival. Of casting us as fully-realized human beings with thoughts, feelings, dreams, aspirations, complexity, agency — against a backdrop that explicitly shows and tells us (everyone) that the opposite is true.

Fear Effect is coming back. Have you heard? After the heartbreak of Inferno’s cancellation, and a 15 year wait with no new game in sight, French indie studio Sushee Games is creating Fear Effect: Sedna. Concerned about representations of Inuit peoples in the game, I decided to contact Sushee Games about how they would handle the use of Inuit aesthetic, cultural stories and history.

The truth of the matter is that these revelations haven’t tarnished the image of Cliff Huxtable, and changed him into a monster. Rather, the image of Cliff Huxtable was built around an actual monster. A monster playing his best role yet, as a beloved family icon and upstanding public figure.

Sometimes it’s tucked away, hidden just beneath the tongue, or in the sly twist of the mouth…

Anti-blackness is so pervasive that I think media creators aren’t even aware of how they present it on a regular basis. That’s me giving them the benefit of the doubt, in spite of all the evidence that suggests it’s intentional.

A contemplation of the revolutionary potential of teaching black kids Mandarin. Beyond allowing black people to have more mobility within a new power structure, fluency in Mandarin would allow us to spread our own influence. Our revolutionary spirit writ large to resonate with people around the world…

When you hear the name Thomas Jefferson, it is likely followed by “founding father”, “hero”, “patriot”, and other such reverent terms. But he should also be considered one of the Founding Fathers of white supremacy. Nearly every white supremacist idea, claim, or rationale, can be found in Jefferson’s Notes on the State of Virginia…

What does any black person stand to gain from sitting in a dark movie theater—more than likely surrounded by white people—and being psychologically assaulted for two hours? Will we then turn to those white audience members and discuss how horrible it all was, how many tears they shed, and eventually breathe a collective sigh of relief that all that was in the past, and thank God that we’ve come so far?

An examination of how Butler challenges sexual norms, from the incest taboo in the Patternist series, to interspecies sex in the Lilith’s Brood trilogy, to pedophilia and rape in Fledgling, and arguably all three of these in her short story Bloodchild. These stories show us how norms, particularly sexual ones, are flexible between worlds, cultures, and especially individuals.

Taken as a whole, the first season of The Legend of Korra failed, because of what the creators seemed to be setting in motion – call it a promise of great things to come, even – and how they did not deliver on that promise by the season finale…

Ever since the first airing of The Legend of Korra, fans have been abuzz with speculations over the identity of the masked antagonist, Amon. Some theories have been plausible, others have been completely asinine, like “Amon = Aang!” Seriously?

The following passage is from The Principle of the Mercantile System, written in 1776 by Adam Smith, who ironically, has become a sort of symbol of the same type of “free market” capitalists who Smith seems to be criticizing here. More striking than any of that, though, is how much this passage so precisely reflects our current situation.

I take issue with the very idea that it need be some sort of marketing or political strategy, some sort of acquiescence to irrational demands that someone represent or treat people of color with sensitivity and respect. Yet in the case of Tithe, I am left wondering if that was not exactly the point.

Who Fears Death, for its fatalistic structure, could have easily fallen into the trap of giving the overall plot precedence over the characters. Yet, on the contrary, the vast majority of the book was spent developing the characters as they traveled – no, were pulled along – towards their fate…

While we exalt or vilify real life figures, we know deep down that people are more complex than what their words or actions tell us, or what great good or great evil we might wish to project upon them. By contrast, heroes and villains also make things easy on us: they are easy to love and support, or easy to hate and blame for all that is wrong with the world…

Follow the Waves, written by Amal El-Mohtar, is a story filled with gorgeous, rhythmic language, of the sort to be expected from someone who is a poet first. It seems that nearly every paragraph is layered with multiple meanings, and contain phrases that we could even call verses…

We take it for granted that our perception of reality is grounded in some objective truth. We do not even consider the possibility that there is no such thing, that instead “reality” is composed of a multitude of overlapping spheres of perception, the shared spaces together making up those aspects of reality that we agree upon – the collective consciousness, to give it another name…

It is one of the oldest clichés that the “forces of darkness” will set upon that which is good and “light”. In a medium where the heroes are most often white and characters of color – especially black characters – are reduced to plot devices, and in a society where power is designated along lines of “light” and “dark”, the old trope is necessarily racialized…

An analysis of Neil Gaiman’s American Gods — As the battle for “brain space” rages on, with each new scientific innovation, new interpretations of history, shifts in culture and society, we must reconcile these changes with the deep-seated desire in all of us to hold on to some part of our pasts…

The concept of self as a collection of interchangeable parts is consistent with our existential freedom to “reinvent” ourselves, once we recognize that we have the ability to do so. We can change how we interface with others, our outward appearance, our language, our gender, even to a point our “race” – at least with respect to our own internal concept of self, apart, if not completely removed from the perceptions of others…

Heinz Meaney’s implication is that our final advancement as human beings will be predicated upon the annihilation of the world itself. Faust seems to be suggesting we look at our “highly advanced” civilization for what it is – violent, invasive, and ultimately destructive….

We view the sunset through a different lens – one of morose, even pessimistic contemplation. The sun is not merely setting to rise another day, it is dying. The clouds are torn, suggesting that their condition is not natural, but has been inflicted upon them…

For all “darkness” figures into the thinking of fantasy authors, it is conspicuously absent from the features of the characters. Except the “dark lords” and such, who play off of the fact that darkness equates to evil in the white literary imagination. Tolkien took it a step further, equating not only darkness with evil in the abstract, but designing his evil characters – goblins, trolls, and the like – with Africanesque features…

In Until the Monsters Come, I borrow from first-hand accounts of the Stolen Generations of Indigenous Australians. As I’ve continued writing, however, I’ve gotten to thinking about cultural appropriation…

Alexie points a finger at the self-satisfying ramblings of white liberals, who for all they may understand intellectually, lack any real personal understanding of the Indian condition, or of the fact that there may not even be any such monolithic condition…

In Flight, Alexie seems to be asking whether or not self-hatred can be neutralized through assimilation – that is, can Zits’s hatred of his own Indian-ness be dissolved into a claiming of his whiteness? Indeed whiteness itself is a product of assimilation, with Irish, Italian, German, and other European ethnicities blending within the “melting pot” to create a new racial paradigm.

Within the context of the novel, these details, which might be applied to say, a cooking accident in another book, convey so much more than just how the characters physically experience the world. They express all the tension and urgency of high stakes conflict and even combat, all without mentioning any of those things explicitly.

I have argued in the past that video games are the ultimate form of expression, and what is art if not expression? Indeed video games are a convergence of art from just about every medium – audio, visual, literary – and their social impact is ever-increasing. Ebert makes his statement by observing video footage of a few games offered up as art, already prepared to deny the possibility. Aside from the sheer fallacy of denying art as a form of expression, there is also the matter of his evaluation not being made from the proper standpoint.

In spite of the near unanimously European-inspired cast of characters, Dragon Age: Origins demonstrates inclusion of diverse experiences in ways that no game has ever done before. Bioware has again established themselves as a trailblazer in an industry that so far has shied away from challenging the status quo or tackling tough issues.

Once upon a time, I was able to just play video games and enjoy them. I didn’t see race, I didn’t see cultural issues, or gender issues, or anything. Games, after all, were my escape from such heady things. But now I can’t help but notice them. There is hardly a movie or a game or a book where I’m not looking for and easily spotting a slew of cultural insensitivities and outright offenses that can only be attributed to the obliviousness or indifference of white game developers.

At a glance, some – if not most – people would question whether or not Jade qualifies as “black” in any sense. Arguments could be made for virtually any ethnicity as her appearance is quite ambiguous. The only solid support for Jade being a “black” heroine is in looking at the original concept art, which featured some earlier renditions of Jade with either locks or braids in her hair, and features more commonly associated with certain peoples of Africa.

Those of us who are not white, but hope to identify with the characters we play in games the same as anyone, find the industry to be deficient. At best we have had to settle for ethnically ambiguous characters, often in non-Earth settings, which while fulfilling an aesthetic need still leave players wanting for a more substantial connection. When characters of non-European ethnicities are depicted in video games, it is true that they are often stereotypes.

Even in accepting the apologists’ arguments, that Islam was essentially a peaceful religion, and it was only through a myopic and agenda-driven misinterpretation of the holy texts that the “Islamist” perspective emerged, there was still a problem. It seemed to me that all around the world, where there were “insurgencies” or other forms of violent conflict, at least one side was Muslim. The separatists in Chechnya, the Abu Sayyaf in the Philippines, the Jemaah Islamiyah in Indonesia, the Moroccan Islamic Combatant Group in Spain, and last but not least, Osama bin Laden and Al Qaeda – active in multiple places.

Gender inequality, even where it takes on a distinctly “Islamic” character, is not specific to Islam as a religion, or Muslim society. Rather, it is a consequence of patriarchy – a phenomenon that knows no religious or cultural boundaries. How patriarchy manifests in any given society, the ways that people – particularly women – respond to it, are simply different. We must be careful not to presume that these differences are qualitative.